The Spanish press reported on Conchita Montenegro, a Spanish actress who moved to Hollywood in the early 1930s, with ambiguous and contradictory messages. On the one hand, her stint in Tinseltown was celebrated as a national triumph: a young Spanish woman had managed to seduce and conquer the Hollywood film industry. On the other hand, the fact that in Hollywood she played female archetypes at odds with the conservative morality of Catholic Spain was silenced. Decades later, after her death, the Spanish press has restored Conchita Montenegro's fame, this time through a sensationalist, melodramatic story similar to the way Hollywood stars are promoted. Based on a comparative study between journalistic sources from both periods, this article demonstrates that the way Montenegro was treated as a film star in the press reflects the same nationalist fervour, even though the focus of her patriotic exemplariness in the 1930s gave way to a melodramatic vision of her Hollywood career more recently.
El artículo quiere rescatar del olvido la película La cuarta ventana (Julio Coll, 1963), que finaliza con una acción violenta por parte de tres prostitutas que arremeten a golpes contra un hombre, mientras aducen que no pueden seguir soportando el constante daño recibido por el género masculino. Lejos de la imagen ideal, doméstica y sumisa de la mujer que promulgó la Sección Femenina de la Falange, estos personajes se levantan con violencia fálica contra el abusivo dominio patriarcal. A partir de esta constación, el artículo realiza un recorrido por algunas previas expresiones de violencia femenina en el cine rodado durante el franquismo, procede luego a contextualizar la película en el marco de tímidas transformaciones ideológicas respecto a la mujer que emergieron en la sociedad española a inicios de los sesenta y analiza finalmente el film La cuarta ventana para indagar en el posible discurso feminista que ofrecen sus protagonistas.
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